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17 Jan 2025

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Rock of Ages as presented by Newry Youth Performing Arts

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and...

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and evaluation of Front of House Upon arriving at the Market Place Theatre and Arts Centre, one is immediately struck by the modern, imposing structure. The towering glass-covered foyer greets patrons with its bright, clean lines, albeit with a slightly sterile aesthetic. However, the heart of the venue lies beyond: a cosy, multi-level theatre with comfortable seating and intimate sightlines, ideal for a show like Rock of Ages , which thrives on audience connection. The atmosphere was warm and inviting from the moment I stepped inside. The production team and front-of-house staff exuded friendliness, offering a level of hospitality that made me feel as though I were among friends. This approach certainly set the tone for a lively and engaging evening. The audience's anticipation was palpable as they settled in for a night of entertainment—an irreverent, high-energy rock-and-roll romp full of innuendo, humour, and nostalgia. The production kept pace, delivering scene after scene without pause, moving seamlessly from one high-energy moment to the next. The show balanced comedy and romance, exploring the trials and tribulations of its eclectic characters with humour, heart, and a hefty dose of nostalgia for the 1980s rock era. Director - Direction and Production Director Jordan Walsh-Rhodes, who also played the lead role of Drew, demonstrated capable leadership in guiding this production. His direction helped the show flow smoothly, and his use of the theatre’s spacious stage was effective in creating varied and interesting stage pictures. Walsh-Rhodes showed a clear understanding of pacing, keeping the energy high throughout and ensuring that there were no noticeable lulls in the action. The show maintained a rhythmic ebb and flow, with moments of high intensity giving way to softer, more intimate interactions between characters. The quieter, more intimate moments between the lead characters were particularly well-directed, helping to convey the emotional depth of their relationship. The chemistry between Drew and Sherri, played by Naomi Smyth, was palpable, and the audience was fully invested in their journey. While the production maintained a good pace, there were a few awkward blocking moments, particularly in scenes around the bar, where the positioning made it difficult for certain sections of the audience to fully engage with the action. Despite these minor issues, the overall direction succeeded in keeping the energy high and the audience entertained. Musical Director - Musical Direction and Band Performance The five-piece band, positioned on a riser at the back of the stage, played well together, though their placement presented some challenges in terms of synchronisation with the cast, particularly during larger ensemble numbers. While the band was tight, their sound lacked the punch and power that a rock musical like Rock of Ages  demands. The opening number would have benefited from a bigger, more dynamic sound to set the tone for the rest of the show. That said, the band handled the score well, and there were standout moments, especially during quieter numbers where they blended seamlessly with the cast's vocals. But ultimately, Rock of Ages  demands a certain level of audacity and power from its music, and this production could have benefited from a more aggressive, full-throttle sound. Choreographer - Choreography The choreography, led by Paul Burns, was a bit of a mixed bag. Some numbers were well-executed, particularly by the stronger dancers in the cast, but a portion of the ensemble struggled with the complexity of the choreography. Choreographing for a youth group often requires adapting routines to match the abilities of the performers, and in this case, there were moments where the choreography outstripped the dancers' capabilities. This was most evident in the larger ensemble numbers, where synchronisation and precision were inconsistent. That said, there were standout moments, such as the stripper number, which struck the right balance between being playful and sexy without crossing into inappropriate territory. However, the opening number lacked the impact needed to truly grab the audience's attention from the start. Focusing on the more skilled dancers at the beginning might have strengthened the overall effect. Leading Principals Sherri (Naomi Smyth) : Naomi Smyth delivered an impressive performance, showcasing excellent vocals and a strong stage presence. Her portrayal of Sherri felt genuine, and she connected well with both the audience and her fellow cast members. Smyth's character arc was well-communicated, and she successfully took the audience along with her on Sherri’s emotional journey. Drew (Jordan Walsh-Rhodes) : Walsh-Rhodes played Drew with charm and sincerity. His vocals were strong throughout, particularly in the softer moments, where his performance felt effortless and natural. He captured Drew’s nervous, goofy nature well, and his chemistry with Smyth was one of the production’s strengths. Lonny (Ruairi McAlinden) : McAlinden brought fantastic comic timing to the role of Lonny. His performance was energetic and humorous, and he appeared very comfortable with the show's playful, innuendo-filled dialogue. His delivery was consistently engaging, although his eyeline was slightly low at times, which may have made higher-seated audience members feel excluded from his performance. Dennis (James McGinn) : McGinn’s portrayal of Dennis was serviceable, though somewhat inconsistent. While he had some nice moments, his character’s defiance in the face of the club’s closure needed to be stronger to make the eventual loss more impactful. Franz (Sean Mudzyk) : Mudzyk was deliciously camp as Franz, delivering excellent comedic moments and bringing high energy to every scene he appeared in. His presence consistently elevated the atmosphere, and his vocals were solid. Hertz (Andy Hill) : Hill’s performance as Hertz was somewhat lacking in power. While his imposing physical stature gave him a natural presence, his diction was poor, and he struggled to project authority in the way the character demanded. As a result, Hertz's antagonistic role felt underdeveloped, and his moments of supposed ruthlessness were not entirely convincing. Supporting Performers Regina (Blanaid Hughes) : Hughes delivered a high-energy performance with strong vocals. Her enthusiasm and commitment to the character were clear, and she brought the necessary vibrancy to Regina's activist personality. Justice (Carol McCourt) : McCourt’s performance lacked the vocal power needed for the role of Justice. Additionally, the character’s dual nature—a motherly figure with a shrewd business side—wasn’t as clearly defined as it could have been, resulting in a portrayal that felt understated. Stacee Jaxx (Anthony Fitzpatrick) : Fitzpatrick needed more swagger and confidence to convincingly portray Stacee Jaxx, the rock star that Sherri falls for. His vocals were solid, but they didn’t convey the star power necessary to sell his character’s status as a larger-than-life rock icon. Chorus / Ensemble The chorus was filled with enthusiastic performers who gave their all, but their execution was uneven. There were moments where the ensemble dancing lacked precision, and synchronisation issues were noticeable in the larger group numbers. Despite these technical shortcomings, the energy and commitment from the cast were undeniable. Every performer remained in character throughout the show, and it was clear that the ensemble was fully invested in the story. Vocally, the chorus was strong in parts but suffered from occasional sound imbalance. Whether this was due to a mixing issue or a lack of volume from the performers themselves was difficult to determine, but certain numbers that should have been powerhouses felt a little thin. Still, the ensemble brought a palpable energy to the production, and their dedication to the material was evident in every scene. Stage Management & Set Design The set design was one of the highlights of this production. The team behind it clearly put a lot of thought into creating a space that felt authentic to the rock-and-roll world of Rock of Ages , with excellent attention to detail. The exposed trusses and decking created an authentic rock-and-roll atmosphere that fit the story perfectly. The decision to place the band onstage as part of the set added a bold visual element, though it didn’t entirely succeed in enhancing the show, as the musicians didn’t fully embrace the rock star persona. The stage management was slick, with seamless scene changes that never disrupted the pace of the production. There were a few minor sightline issues, particularly during scenes set at the bar, where the angle made it difficult for certain sections of the audience to fully engage with the action. This could be resolved in future productions by rethinking the positioning of key pieces of set furniture. Technical - Lighting and Sound The lighting design effectively captured the rock-and-roll aesthetic, with bold colours and exposed rigging that added to the concert-like feel of the show. However, there were some inconsistencies with front-of-house lighting, as key characters were occasionally left in shadow due to missed cues and patchy coverage. Despite these minor flaws, the lighting design overall was well considered, and successfully captured the raw energy of rock music.  Sound was one of the weaker technical aspects of the production. The balance between the band and the vocalists was uneven, with some vocal lines getting lost in the mix, particularly during ensemble numbers. Missed sound cues, especially at the start of dialogue, also disrupted the flow of several scenes. A more powerful and immersive sound design would have significantly improved the audience’s experience, especially in a show that aims to replicate the energy of a rock concert. The chorus, too, seemed underpowered in places, though it was unclear whether this was due to microphone issues or simply a lack of projection. In a show that should be sonically immersive and even overwhelming at times, the sound design needed more attention to give the audience that true "rock concert" feel. Costumes, Hair, and Makeup The costume design was appropriate for the genre, with several standout pieces like Sherri’s blue stripper dress and Lonny’s humorous T-shirt changes. However, Justice’s costumes could have been more glamorous to reflect her role as a former stripper turned nightclub owner, and the ensemble dancers’ costumes could have been more cohesive to match Sherri’s glitz. Hair and make-up were fitting for the production’s period and genre, leaning into the big hairstyles and dramatic makeup associated with the 1980s. The ensemble’s looks were consistent with the rock-and-roll theme, and the design elements complemented the costumes well.  Adjudicator’s Suggestions Overall, Rock of Ages  was a lively and enjoyable production with clear strengths in its direction, set design, and the commitment of the cast. Jordan Walsh-Rhodes’ dual role as director and lead actor was handled admirably, and his performance, along with Naomi Smyth’s Sherri, anchored the show beautifully.  However, there are areas that could be refined for future performances. The choreography, while ambitious, needed to be tailored more effectively to the abilities of the cast, ensuring that the movements highlight their strengths, rather than exposing weaknesses. Additionally, the technical aspects—particularly sound and lighting—require more attention to ensure that they enhance rather than detract from the performance.  For future endeavours, I would recommend considering the addition of an assistant director if one of the creative team members takes on a leading role. This would allow for greater attention to be paid to the finer details of the production, which might be overlooked due to the demands of performing. The decision to include the band on stage was a bold one, but if this is to be repeated, more emphasis should be placed on integrating the musicians into the world of the show. Encouraging them to fully embrace their roles as part of the "rock concert" experience, could make for a more immersive and impactful production. Finally, pushing the boundaries a little further with costumes would add a level of flair that this kind of show thrives on. The aim should be to fully embrace the wild, over-the-top world of rock music, where bigger is often better. In conclusion, Newry Youth Performing Arts’ Rock of Ages  was an entertaining and spirited production that captured the heart and energy of the musical while offering room for refinement. The cast's enthusiasm and dedication, combined with strong direction, ensure that this production will be remembered fondly by those who attended. Therese Maher Sullivan Adjudicator 2024/2025

Shrek as presented by Fermanagh Musical Theatre

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue...

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue I’m envious of the stunning setting surrounding the Ardhowen Theatre. Nestled in by the river, the views from the front of house are breathtaking, and despite the large glass windows, the foyer feels warm and welcoming. The space is well laid out, and Fermanagh Musical Theatre (FMT) is fortunate to perform in such a facility. The Front of House team matched this warmth with their approach—greeted with smiles and friendly chats, they were clearly on top of their game, ensuring everyone felt welcome upon entering the building. The theatre’s layout works in its favor, with no bad seats in the house. The intimate setting drew the audience into the world of Shrek The Musical . The production was light, fun, and filled with energy from start to finish.  Every performer on the stage was clearly enjoying themselves, and fully invested in telling the story. The show bounced along, never letting the energy drop, and never missing a beat. All in all, a very enjoyable evening's entertainment. Direction & Production Sam McElgunn was fortunate to have a talented cast to work with, though that can be both a blessing and a challenge for an inexperienced director. Overall, the pacing and flow of the show were strong, with no awkward pauses or lulls. The production followed a fairly traditional interpretation of the story. However, there were moments where the staging could have been stronger. most noticeably in the first scene with Shrek and the Fairytale characters where most of the scene was spent looking at Shrek’s back as he tried to address all the characters who remained stationary, often hidden, as they delivered their lines. The concept of having the characters turn the pages of the book was an interesting one and mostly worked, but consistency is key—either all characters should have participated in funky moves while changing the pages, or none at all. While the principal cast members were clearly talented, I felt Sam could have pushed them further, encouraging more exaggerated fairy-tale emotions and physicality. With each chorus member playing a distinct character, spending time developing their quirks and traits would have elevated the production, pushing the ensemble to maintain their characters throughout the show. Though time-intensive, such work adds layers and depth to a production. Sam clearly has a creative mind, but I’d suggest picking through all the ideas and focusing on the ones that truly serve the show and seeing them through completely. Musical Direction & Orchestra Moya Sweeney’s band was tight and well-rehearsed, with no missed cues or timing issues. She held them tight, feeling the ebb and flow of the show throughout. The tempos fit the energy of the show, bouncy when needed and held back when appropriate, always in sync with the action on stage. However, the balance between electric and acoustic instruments was an issue. This meant some of the score’s clever harmonies and instrumentation were lost. Vocally, the principals were strong throughout, handling the range of songs with ease. The chorus was equally tight, with well-rehearsed harmonies that blended beautifully. It helped that each cast member was mic’d, allowing every vocal moment to be heard clearly. Choreography Choreographers Chloe Martin and Cara Murphy delivered well-rehearsed routines with clean lines and high energy. It was evident that the cast had been drilled. Given their youth, I believe they could have been pushed even further. When youth is on your side, you can afford to take more risks with the complexity of the routines. There were some standout moments in the choreography, particularly the quirky "What’s Up Duloc" and the comedic "Ballad of Lord Farquaad." The use of fans in "Forever" was inventive, though I would have loved to see even more of them. Overall, the choreography flowed smoothly within the scenes, never feeling out of place or forced, though I suspect the cast has more to give if challenged further. Leading Principles John Og Cathcart (Shrek) : John captured Shrek’s softer side well, especially in the second act when his character falls in love with Fiona. He has a lovely tone to his voice and didn’t shy away from the bigger moments in the songs. However, I didn’t quite feel the full extent of Shrek’s annoyance, frustration, or anger, which would have provided more contrast between his gruff exterior and softer interior. John struggled a bit with the shoes, and I wonder if a different interpretation of Shrek’s physicality—perhaps using wider, more padded elements—could have avoided the awkwardness caused by the extra weight of the platform soles. Blathine Smith (Fiona) : Blathine was full of energy and comedy, easily switching between Fiona’s petulant child-like moments and her princess persona. Vocally, she sometimes slipped into nasal tones that were a little sharp, but there was no question about the power behind her voice. Confident on stage, Blathine led us through Fiona’s story arc with enthusiasm. Clodagh Sweeney (Donkey) : Clodagh was clearly comfortable with Donkey’s physicality, showing her experience as a performer. Singing in a male vocal range can be tough for someone with a female voice, but Clodagh handled it with ease. Her comic timing was spot on, though I would have liked to see her push even further, especially in her interactions with Shrek, really bringing him to his breaking point. Odhran Sweeney (Lord Farquaad) : I was delighted to see that Lord Farquaad was played kneeling, and Odhran’s portrayal was often hilarious. However, his costume and wig frequently needed adjustment, which distracted from his otherwise strong performance. Vocally, he was a great fit for the role, moving through his numbers with ease. Supporting Roles Amy Bogue (Teen Fiona)  was a standout, with some of the strongest vocals on stage. She commanded her role well but also blended seamlessly into the chorus when required. I look forward to seeing more from her in future productions. Niamh Maguire (Young Fiona)  handled her part well, though her more mature vocal and physical presence made it harder to believe she was the youngest version of Fiona. Harry Parkinson (Pinocchio)  impressed with his ability to sing in a high register without ever dropping it, and his physical portrayal of the puppet was spot-on. Niall Kerr (Gingy)  did a fantastic job handling the puppet, maintaining focus on the puppet rather than himself, and his falsetto singing never wavered. Nadia Stenson (Dragon)  managed the role vocally, but I missed the sass and swagger typically associated with the character, leaving me feeling that there was more untapped potential there. Chorus/Ensemble The chorus was vocally strong, with harmonies blending well and no individual voices dominating. This is a clear sign of a well-rehearsed group. Movement-wise, they worked well together, though some of the less experienced performers occasionally lost their character when they weren’t the focus. Maintaining those individual traits throughout would enhance their performances. Still, the cast looked like they were having a great time on stage, and their energy was infectious. Stage Management & Set Design Stage transitions were inconsistent, ranging from cast-led changes to blackouts and half-blackouts with visible stage crew. My advice here is to pick one style of transition and stick with it. The set design also suffered from a lack of cohesion. While there were some standout pieces—like the book, the fireplace, and the cloths—others lacked the finishing touches that would have tied everything together. Consistency in painting style and either fully embracing the function form of, or completely hiding, the steel deck would have improved the overall look. Technical Lighting was a disappointment. I spent the first 15–20 minutes wondering if there was any color in the lighting at all, and when it did appear, it felt too late. The difference in levels between upstage and downstage was also jarring, as characters would suddenly get brighter or darker depending on their position. Sound balance was an issue. There was a noticeable difference between the electrical instruments, and the acoustic instruments, leaving the overall sound a bit thin at times.  While every member of the cast was mic’d and the balance of vocals was good, there were numerous missed cues, which even after multiple performances was noticeable.  Costumes, Hair & Makeup Costumes were hit and miss. Pinocchio and the Dragon’s wings were well executed, but others, like the Witch and Cheshire Cat, needed more detail to elevate them to fairytale status. Fiona’s costumes were two sizes too big, which was distracting and detracted from the character. Wigs, with the exception of Lord Farquaad’s, were good, though Shrek’s crochet cap could have been improved with a bald cap. Adjudicators comments and suggestions This production had many strong creative ideas, but attention to detail and consistency would push it to the next level. Attending some technical and production focused workshops, as well as bringing on assistants in some departments would help address this. The young cast showed great potential, and with further challenges and refinement, they could produce something truly exceptional. A fun and enjoyable show that, with a few improvements, could reach even greater heights. Therese Maher Sullivan Adjudicator 2024/2025

Fiddler on the Roof as presented by Ballywillan Drama Group

Fiddler on the Roof as presented by Ballywillan Drama Group: Monday 29th April 2024. I whole-heartedly applaud the effort of Director,...

Fiddler on the Roof as presented by Ballywillan Drama Group:   Monday 29 th April 2024.   I whole-heartedly applaud the effort of Director, Brian Logan, to draw the obvious parallel between this historical story and the current plight of the Ukrainian people. This was done particularly well with the “History Repeats Itself” section of the show program, but also with a pre-prologue voice over and sound effects of an on-going war. A soldier entered from the audience, looking to the sky as planes flew overhead, and as the sounds faded, he removed his camouflage coat and ambled into his prologue as Tevye. Different and imaginative. With one of the best written books for a musical, combined with beautiful authentic music that encapsulates the time and place of the setting, Fiddler on the Roof has long been one of my favourite musicals. It’s a story of fortitude and stoicism amid the most awful adversity, but also a story of family, of love and of religious passion, with all its positive and its negative implications. The simplicity of viewing all of life through the eyes of one humble milkman is the touch of genius that makes the whole package work so brilliantly.  The show had good pace that was interrupted only by slightly laboured scene changes, sometimes with what seemed like unnecessary movement of some pieces. While the set for the show had a good rustic feel about it, there were occasions when the moving pieces seemed a little abstract. It was nicely constructed and well-painted though. There seemed to be a lot of Americanization of accents during the show, possibly following that annoying aspect of the movie version, but many characters maintained their Eastern European accents better than others. There were also occasions when comedy was lost, for example, the joke of ‘the new arrival at Motel and Tzeitel’s’ lost its impact because the sewing machine was clear to see from the start of the scene.  Musically, the show was very solid indeed, due in part to a fine orchestra, led by Musical Director, Andrew Robinson, who appreciated the feel and rhythm of the traditional Jewish style of music that permeates this score. The Fiddle playing throughout was very good indeed. Andrew also ensured that the orchestra were well-balanced with the vocals from a disciplined chorus and the strongly reliable principal singers. In Sabbath Prayer and Sunrise Sunset, in particular, the harmonies were rich and delightful. The tricky Nightmare number was also very well performed.  Choreographers Sharon Logan and Laura Fisher got the showoff to a good start with a nicely drilled display of patterns and movement for “Tradition.” There was good movement too in the “To Life” number, and their Russian soldiers made a good attempt at some difficult steps. The wedding was a lot of fun, but I’d prefer to see an attempt at an authentic bottle dance with real bottles. The “Matchmaker” number and the “Chavalet” ballet were nicely designed and executed.  The mammoth role of Tevye was played by Alan McClarty, with many moments of strong emotion and pathos, particularly in Act Two, when he struggled with losing Hodel and then Chava. These were his best scenes. I was a little distracted by his accent, which fluctuated between the expected Russian slant and some very American-sounding passages, and on one or two occasions, his dialogue was a little rushed. Particularly in his monologues to God, perhaps a slightly more pensive or undecided hesitancy might have been appropriate. I’m  delighted to say that my favourite pieces in the show, “Chavalet” and “Do You Love Me” were beautifully handled. He also gave a good robust performance of “If I Were A Rich Man.” It was a lovely touch, too, that he collected his camouflage jacket and took it with him as he left Anatevka.  Úna Culkin’s Golde was delightfully abrupt and impatient with her family members, beautifully tolerant of her encounters with Yente, and her distress at losing her daughter was very palpable. This was a very nicely played role, with good vocal quality and fine emotions. Olive Hemphill made a very convincing Yente, nicely befuddled in trying to impart her news, looking, and acting just right, and despite forgetting a line or two, she maintained her character very well throughout.  Paul Sleet was a gentle and amiable Lazar Wolf in his first encounter with Tevye but showed a good more aggrieved countenance during the wedding scene. He sang well beside Alan in the “Too Life” number.  Clare Campbell was a lovely Tzeitel, particularly in her acting when her father tried to force her to marry Lazar. There was a good genuine bond between herself and Motel, and she sang delightfully, albeit with, again, an American twang.  Patrick Connor gave a nice light comedic portrayal of Motel the Tailor, scared of his own shadow, but somehow summoning up the courage to stand up to Tevye when the chips were down. His “Miracle of Miracles” was abundant with joy, and he sustained his character beautifully throughout the show.  Megan Paul was a sincere and impetuous Hodel, quick to challenge the attitudes of Perchik, but susceptible enough to be moved by his authenticity. She played her relationship with her father very well, and “Far From The Home I Love” was nicely delivered. Adam Goudy was a spirited and forthright Perchik, full of idealism yet open to change. This was played at just the right level, making him likeable to Hodel and earning the respect of Tevye. “Now I Have Everything” was sung with sincerity.  Chloe Freeman-Wallace played young Chava with assurance and vulnerability, handling her relationship with Fyedka with caution but caring. Her passionate pleading to her father was a most touching scene.  Steven Millar was a respectful Fyedka, gentle in his approaches to Chava, and cautious in crossing her father, yet strong when he needed to be. Nicely played.  As the town busy-body, Tom Waddell was a convincing Avram, while Jim Everett had good self-importance as innkeeper, Mordcha. David McDowell was suitably pompous and uppity as Mendel, the Rabbi’s son, and Harry Stinson was a suitably dithery Rabbi. There was a condescending tone about Greg Edwards as the Constable, but his character has more depth if he shows more reluctance about the pogrom that disrupts the wedding. Richard Campbell looked well and played extremely well as The Fiddler. There were very good cameo performances by Vicky Hogg as Grandma Tzeitel, and Kellyann McKillen sang splendidly in a fine and original representation of Fruma Sara. Lesley Reynolds as Shandel, Adam Campbell as Nachum and Steve Setterfield as Sasha all contributed well to the overall performance.  Sphrintze and Bielke were delightfully played by Ela Richards and Sophie O’Neill, with nice character and good clear voices.  Perhaps the Chorus could have been a little more challenged in their dancing, but they performed   all that was asked of them with good confidence. Their reactions to the drama around them was good and vocally, they were very secure. “Sabbath Prayer,” “Sunrise Sunset” and “Anatevka” were all very easy on the ear.  There was good attention to detail in the costuming of the show, prayer shawls in place and heads covered as one would expect. Russian outfits were good too, and the principal characters all seemed to be appropriately attired to suit their individuality. There was good work done on beards, etc., and make-up was perfectly fine, with nice attention to Grandma Tzeitel and a good novel approach to the presentation of Fruma Sara. Props and stage dressing were good throughout. Likewise, the lighting was generally quite good, providing atmosphere for many scenes and more often than not effectively highlighting the main action. The crew, under stage manager, David Wray, sometimes seemed uncertain of where each piece was to be positioned, but they went about their task with decent efficiency. The sound for the show was very satisfactory.  My thanks to all involved in the many Ballywillan shows that I have enjoyed over the years, and I wish you good fortune and many wonderful productions in the future.

Oliver! as presented by Encore Performing Arts Academy

ENCORE PERFORMING ARTS ACADEMY OLIVER THE ALLEY THEATRE STRABANE, 11th April to 20th April 2024 ADJUDICATION PERFORMANCE MATINEE SATURDAY...

ENCORE PERFORMING ARTS ACADEMY  OLIVER THE ALLEY THEATRE STRABANE, 11th April to 20th April 2024 ADJUDICATION PERFORMANCE MATINEE SATURDAY 20th April  I recently had the pleasure of attending the Encore Performing Arts Academy production of "Oliver" at The Alley Theatre in Strabane for my second adjudication of this lovely company. The Front of House team was excellent on arrival. Everyone is made to feel so welcome and comfortable, just like a family. It's always a pleasure to attend a show when the front-of-house team is confident and assured in their roles, smiling like the stars in the sky. Congratulations to the team for doing an excellent job! The show was a fantastic production, filled once more with talented performers who brought their A-game to the stage. From the opening number to the final bow, the audience was not just treated to a theatrical experience, they were also part of it, feeling the emotions and being invested in the story. I was back amongst these lovely people again, which was so beautiful. Thank you.  The Director was Rebecca Thompson. The production was a feast for the senses, from the opening number to the final bow. The staging was creative and practical, transporting the audience to Victorian-era London. The cast was superb, with each member delivering solid performances throughout the show. She brought a clear and vivid vision to the production, and her meticulous attention to detail was evident everywhere. The pacing was perfect, with each scene flowing seamlessly into the next. The balance between the musical numbers and dialogue was expertly handled, ensuring the audience remained engaged and invested in the story. Ms. Thompsons' vision, attention to detail, and gift for skilful direction brought this production to life, and the result was a truly memorable theatrical experience.  The Musical Director was Mr Gerard Bradley. Mr Gerard Bradley did an excellent job. He led the orchestra with skill and calmness ensuring that the music flowed beautifully throughout the show. The songs were well-arranged and complemented the action on stage perfectly. Again, I must mention Mr. Bradley's guidance when conducting the children was very good, and there was a profound empathy between Mr. Bradley and the cast, both adults and children. This was palpable in the performers' exceptional vocal skills and expressions. I specifically mention the accompaniment for “Who Will Buy” and the gorgeous emotionally filled “As Long as he needs me.”  Ms Rebecca Thompson, who also served as the show's director, was responsible for the choreography, and her talent was evident in every dance number. The choreography was creative and innovative, and the children were so young, and yet they moved so beautifully around the stage, like the little stars that they were. Every time they had movement in their songs, they performed the moves flawlessly and were as cute as buttons! Ms Thompson's ability to bring out the best in her performers was commendable, and her dedication to choreography was evident throughout the production. I loved “Consider Yourself,” “Food Glorious Food,” and” Oom – Pah – Pah.” Overall, the choreography was excellent.  The Stage Manager was Ian Thompson. The sets were very good. I could see the intricacies of the set, and the slightest attention to detail, such as the natural water feature in the fountain of rock, was a beautiful addition that added a touch of elegance to the stage. The sets were cleverly recycled from other shows, which was impressive and eco-friendly. Mr Thompson's attention to detail was remarkable, with intricate painting and small details that made everything look polished and professional. The handkerchief hanging in Fagin's lair added a beautiful collage of colours that perfectly complemented the set. The bridge was another picturesque addition to the production, and it was built solidly with great attention to detail. Overall, the sets were lovely and greatly added to the production. The lighting for this production was excellent. It created a perfect scene atmosphere and added to the overall experience. The lighting was not too bright or too dim but just right. It highlighted the adults and the children on stage very well. Very well done here, team lighting.  The sound for this production was also excellent. The sound levels were balanced, and everything was clear and audible. The sound effects were spot on. The music was well-mixed, and the vocals were clear and easy to understand.  The costumes were impressive. They were well-designed and again perfectly reflected the Victorian-era London setting of the show. The colourful costumes worn by the children in their chorus numbers added a touch of joy and a lovely sense of innocence to the production.  The makeup was good. The hair was also styled to suit each character and the period, and again, in this area, the attention to detail was impressive, with each performer's hair and makeup suitable for the era. Each prop reflected the period and setting of the show. There were many handcrafted props, and they were impressive. The props were minimal, yet attention to detail was excellent, such as Mr Brownlow's books, Sykes ' evil-looking weapon that he carried, which looked dark and dangerous, Fagin's jewellery box and the beautiful bouquets in Who Will Buy.  Ronan Drummond played the part of Fagin. Mr Drummonds’ performance of Fagin was good. He brought a sinister quality to the character that made him both captivating and repulsive, yet a paternal element one could also see in his care of Oliver when he arrived in Fagin’s lair. Mr Drummond acted very well in this role. He had a great costume. His delivery of the dialogue was sharp and witty, and he had a commanding presence on stage that drew the audience's attention. His movements were calculated and added to the overall effect of the character.  Aimee Kelly played the part of Oliver. The young lady did an excellent job of capturing the innocence and vulnerability of the character. Her singing was clear and on key, and her delivery of the lines was convincing. She was very lithe on stage and had a lovely voice, and at her young age, she held her own against the more experienced actors. I hope Ms Kelly continues on her Musical Theatre journey as there is a talent here in bucketloads.  The part of Nancy was played by Laura Douglas. With her lovely sweet lyrical voice her songs were truly moving, and her solo "As Long As He Needs Me" was emotionally charged and beautifully executed. Her character was kind, and her personality shone through in every scene she was in. Her rendition of "It's a Fine Life" with Bet, Fagin, and the boys was a joy to watch, and it showcased her fun-loving side. Laura's rapport with the rest of the cast was evident, and her character was lovable, a good friend, and a kind soul. So perfectly cast in this role Ms Douglas it was a joy to be a part of the audience to witness this, and the character you gave to us of Nancy. Your Nancy. So lovely. Well Done.  James Thompson played the part of Bill Sikes. A role that frightened the living daylights out of me with his threatening demeanour, his movements, his shouting, bringing fear to everyone and then the culmination of his terrible anger. When Nancy died, it was very emotional indeed, and Mr Thompson’s character was raw and frightening in his brutality and cruelty. He dominated the stage whenever he appeared, and his physicality added to the overall effect of the character. A powerful performance by Mr Thompson.  Shannon McKinley played the part of the Artful Dodger, and she did a good job of bringing a mischievous glint to the role. Ms McKinley had a lovely charm and a natural stage presence that made her stand out. Her singing and dancing were both good, and she had a good rapport with the other actors. Overall, this young lady gave a lovely performance.  Sadbh Breathnach played the part of Bet. A lovely role. A good friend to Nancy and just a cheerful, friendly soul in this character. Superb acting when Nancy dies, and Bet discovers that she is dead; her scream and her pain echo through the theatre as she falls on Nancy's body crying. Excellent scene and very emotional. Well done.  Andrea Logue played the part of Mrs Sowerberry. And Mr Sowerberry's part was played by Caolan Kelly. This duo brought a unique dynamic to the stage with their chemistry, timing, and attention to detail. Mr Sowerberry's interpretation of the character was spot-on, with his gruff demeanour and rough exterior perfectly complementing his wife's more gentle approach to the role. Mrs. Sowerberry's performance was equally impressive. Both these roles were performed well.  Ricky Kyle played the part of Mr Bumble. Firstly, I know that Mr Kyle stepped in to play this role with only a day or two to go to the opening to cover cast illness. Knowing this gentleman had just completed the same role immediately with Londonderry Musical Society, Mr Kyle was brilliant in this character. Looked great, acted brilliantly costume perfect and had a lovely rapport with Widow Corney. Mr Kyle was part of the family at this stage and blended magnificently in this role to cover the emergency casting. Not only was it admirable, but it was also a marvellous performance by Mr Kyle. The saying “The Show Must Go On” certainly applied to Mr Kyle here. And you were honestly excellent.  Clare Bradley played the part of Widow Corney in a small role in this Musical, but her presence is essential to the story. In this production, Ms Bradley brought a lot of humour to the role. She had a fabulous stage presence and interacted well with the other actors, especially with Mr Bumble, who, as already mentioned, was standing in the role. She quickly handled the role's comedic aspects, was very comical, had a dry wit, and was a likeable character.  Erin Dolan played Charlotte. She did an excellent job portraying the character's snippy and entitled demeanour. Her vocal performance was strong, and she delivered her lines with conviction and confidence. Her interactions with other characters, particularly Noah Claypole, were entertaining, as she was simply besotted by him and the overall comedic tone.  Harry Thompson played the part of Noah Claypole. This character is easy to dislike, and Mr Thompson did an excellent job embodying the character's smug and arrogant personality. He had a strong stage presence and interacted well with the other actors. His vocal performance was strong, and he delivered his lines with conviction and confidence. His interactions with different characters, particularly Charlotte, were entertaining and added to the show's comedic tone.  Daithí Harrigan played the part of Charley Bates. It was a small role but an important one. Mr. Harrigan did an excellent job of bringing the character to life. He had a great stage presence and interacted well with the other actors. His performance was strong, and he delivered his lines with conviction and confidence. His interactions with other characters were very entertaining. Well played, Mr. Harrigan.  Mark Leonard played Mr Brownlow, and Anna Gallagher played Mrs Bedwin. Mr Leonard brought a sense of kindness and wisdom to Mr Brownlow's role, making it easy for the audience to connect with him. Ms Gallagher was an absolute delight as Mrs Bedwin, the housekeeper. She brought a sense of warmth and a maternal perspective to the role, and her chemistry with Mr Leonard was so sweet and lovely. Her performance added depth and richness to the production. It was such a pleasure to watch them on stage. Two lovely parts, well cast.  I was so impressed by this Chorus. They were the backbone of the production and played an integral role in bringing the musical to life. This Chorus had an infectious energy that was palpable throughout the show, and their enthusiasm was contagious, especially the children whose vocal abilities were awe-inspiring .  Everyone did a fantastic job with this lovely show. This Society can become even more successful in the future (if possible). Still, I sincerely hope you continue building on what you have here at Encore Theatre Productions. You have talent in bucketloads and a production team that is one of the best. I wish you nothing but continued success. Keep doing your gorgeous shows, and thank you for your fantastic hospitality, welcome and care. It will stay with me always. Caroline Daly Jones Adjudicator Sullivan 2023 / 2024 Photos by Rebecca Thompson / Sean Mc Intyre

Grease as performed by Craic Theatre

CRAIC THEATRE COALISLAND GREASE 4TH – 14TH April with no-shows on 8th, 9th, and 10th. ADJUDICATION PERFORMANCE 13TH APRIL Where do I...

CRAIC THEATRE COALISLAND GREASE 4TH – 14TH April with no-shows on 8th, 9th, and 10th. ADJUDICATION PERFORMANCE 13TH APRIL  Where do I start with this journey to Coalisland and to Craic Theatre? Another little place hidden away amongst a load of buildings, that in no way looked like I was in theatre land, and then in the glimpse out of the corner of my eye, I saw this theatre. This stage was so gorgeous, so quaint, with so many memories for many people. The audience's reaction to the performance was an exact testament to the quality of the production. They brought the house down. The front of the house was alight with queues, noise, and buzz, and I could not have asked for a nicer seat. I was looked after impeccably. This theatre is SO well used; everyone seemed to mill around so comfortably as if it was their home. From chatting later with some patrons, I was told this building was, at one stage, a cinema and had always been a huge part of the community. It all made sense.  Producer and Director was Sean O’Neill. Mr O’Neill focused on the high energy and nostalgic charm of the 1950s. The staging was thoughtfully arranged to maximize the use of space, creating lovely dynamic scenes that flowed smoothly from one to another. The choice of casting was apt, as each character embodied their character's true essence and core, bringing a lovely authenticity to the production. The set design was very detailed and creative especially Rydell High. Brilliant. Under Mr. O’Neill’s direction, there was a lovely balance between comedy and many of the story's more sensitive and emotional sides, which was very well maintained throughout. A great job overall especially considering Mr O’Neill took on the choreography too.  Musical Director Roisin Corr, who also served as Chorus Mistress and Conductor, demonstrated exceptional skill in directing the musical aspects of this production. The vocal performances were a testament to her direction and leadership, with harmonies that beautifully showcased the sizeable vocal range of the cast. The balance between Orchestra and ensemble was meticulously maintained, ensuring neither overshadowed the other. As a Musical Director, her direction was vital in keeping the story's pace, energy, and cohesiveness. The iconic numbers such as “Sandy,” “You Gotta Shape Up,” and “Beauty School Dropout” were orchestrated to perfection, adding a punch to the bold sound that echoed the excitement of the T Birds. The softer moments were underscored beautifully by the gentle woodwind and strings, bringing out the emotional depth of the production.  The choreography was also done by Sean O’Neill as mentioned and the dance was excellent. The cast's energy and precision was a joy to see. There was so much energy, and the choreography was so well-suited to the era of the show. “Greased Lightning” and “We Go Together” were so impressive, featuring complex dance routines performed with precision and flair. For example, the cast executed a series of intricate lifts and spins in perfect synchrony, showcasing their exceptional dance skills. It was difficult not to clap my hands and stamp my feet in the dance numbers throughout. The choreography and its energy bounced off the walls of the Theatre, giving this lovely atmosphere of “being a part of,” it was adorable to be in the audience watching this troupe consistently perfect their routines. Mr O’Neill you excelled in this area, well done. The Stage Manager was Cara O’Brien. The sets were good, but this cast still made it look bigger with such a small stage, even when they were all on it simultaneously! Rydell High, The Burger Joint, and a car garage were pivotal in the story and looked great. The transition between the sets was smooth and fast, and a lovely flow was maintained. For instance, the set for Rydell High was meticulously designed to resemble a typical 1950s high school, complete with lockers, a basketball court, and a stage for the school dance. The attention to detail in the set design added to the authenticity of the production and enhanced the audience's immersion in the story. The lighting was good. Lighting changes as part of the story made a positive difference from the fabulous use of spotlights, colour washes, and softer, warmer lights for the indoor scenes, and the starker lighting for the outdoor or daytime scenes was so well done. For example, smooth, warm lighting during the romantic scenes between Sandy and Danny created a cozy, intimate atmosphere. In contrast, the use of bright, stark lighting during the school dance scene added to the excitement and energy of the moment.  The sound system was robust enough to handle the dynamics of the vocals. The sound and its proper use here elevated the production consistently, with radio mics and choral sound giving excellent sound, increasing the output of the whole company.  The costumes, hair, and makeup were well thought out and executed. The cast looked the part, with stylish and authentic costumes to the era. The T-Birds and Pink Ladies were especially noteworthy, with their leather jackets, poodle skirts, and bobby socks. The costumes for the school dance scene were also very well done, with the dresses and suits looking particularly elegant. The props used were well-chosen, adding to the show's authenticity. From the jukebox to the vintage cars, the props were all carefully selected to reflect the period and setting of the story. Handheld microphones and radios also added to the show's overall feel, with the cast using them to significant effect throughout. For instance, the jukebox was a central prop in many musical numbers, adding to the nostalgic charm of the 1950s setting. Aaron Rooney played the part of Danny Zuko. Mr Rooney was a charismatic and confident Danny Zuko, and his portrayal of this character included lovely direction in being a natural leader in his acting. Mr Rooney was compelling in his role, had fantastic chemistry, and played the romantic scenes with sensitivity and grace. Their rendition of "Summer Nights" was just excellent! He brought a fresh, modern interpretation to the role while maintaining the character's charm. Mr Rooney was full of energy, enthusiasm, and charisma, making him an absolute delight to watch on stage. His singing was on point, and his rendition of the iconic songs "Summer Nights" and "Greased Lightnin'" were excellent. Great performance.  Katie O’Neill played Sandy Dombrowski's part. Ms O’Neill brought a perfect blend of innocence, & vulnerability, and yet strength to the role, effectively capturing the character's essence and personality. She demonstrated great vocal control and range, quickly hitting the high notes and delivering the emotional depth of the character's songs. I will add that Sandy's role was a standout feature of the production. Her acting and vocal skills impressed me; her performance was a production highlight. Laura McGuckin played the part of Betty Rizzo. What a sassy and rebellious attitude and her powerful vocals in "There Are Worse Things I Could Do" were simply gorgeous. Rizzo is one of the most complex characters in Grease, and I was pleased to see Ms Guckin portraying her very well. Her performance of "There Are Worse Things I Could Do" was a standout moment of the show, bringing the audience to tears with her raw emotion and stunning vocal performance.  Frenchie, played by Ellie Taggart, brought so much energy and liveability to the stage, and her performance of "Beauty School Dropout" was excellent. Her facial expressions and body language truly conveyed her many emotions and added to a fun element of the show. Additionally, Ms. Taggart's vocals were a joy to listen to, particularly in the iconic "Beauty School Dropout" scene.  Rebecca Hanna played Marty Maraschino's part. Part of the Pink Ladies. She was a bubbly, flirty, and sassy character who added a lot of fun and energy to the production and portrayed a confident demeanour. She also shone in the ensemble numbers, adding a lot of energy and attitude to the Pink Ladies' scenes. A significant part played very well.  Aoife Corr played the part of Jan. Ms Corr perfectly captured her quirky and bubbly personality. Her comedic timing and unique take on Jan's character delighted the audience. Her performance in the musical numbers was lovely. Ms Corr was a genuinely standout character in the production, a pleasant, funny, and friendly young lady with a gorgeous stage presence.  Shea Brady played the part of Kenickie. Cool, calm, authoritarian, charismatic, and with a swagger are words I would use to describe Mr Brady in this role .  I loved Mr Brady's casual swagger, confidence strides, and song with the T Birds.” Greased Lightnin” was pure stardom in this number in vocals, agility, and movement.  Daniel Taaffe played the part of Doody, and boy, did I laugh. His superb comedic timing was impeccable, and his interaction with the other characters on stage was joyous. He had a strong and clear voice and confidence. All aspects of his role were done with such precision and flair that they were imposing. Cathair Brady played the part of Roger. Roger was a fun-loving character who brought a lot of energy to the stage. One of the T-Birds gang and has a fabulous stage presence. Mr Brady did a great job portraying Roger's carefree and playful nature, and his performance during the musical numbers was super.  Canice McIlvenna played the part of Sonny. As part of the T-Birds gang, Mr. McIlvenna has a lovely, outgoing personality and can make people laugh. His portrayal of Sonny was spot-on, and there was a beautiful charm about this gentleman on stage. Constantly cracking jokes or dancing up a storm, Sonny was always entertaining to watch, and I loved each time he arrived on stage. This was a lovely performance from start to finish.  Grace McKenna played the part of Patty. Ms McKenna did a great job of bringing out Patty's personality, and her performance during the musical numbers was well done. Whether singing or dancing, Ms McKenna was always a joy to watch. Holly McCann played the part of Cha Cha. A very flirtatious dancer who caught the eye of many male characters with a dramatic and passionate appearance, Ms McCann did a great job portraying Cha Cha's seductive personality, and her dancing was particularly impressive. Ms McCann looked the part, acted the part, and danced beautifully. Bravo.  Dylan Fox played Eugene. He was such a nerdy character who was often teased by the other characters, yet I was drawn to this young man because he acted this part so well. Despite the teasing, he had a kind heart and a love for science. Mr. Fox did a great job bringing out Eugene's awkward and endearing personality, and his performance during the musical numbers was especially memorable. Eugene was a lovable character who added a lot to the production.  Johnny Casino, played by Michael Clements, was an absolute standout. The energy and enthusiasm he brought to the stage as the Johnny Casino and the Gamblers band leader were infectious. His rendition of "Born to Hand Jive" was a highlight, with his impressive vocals and dynamic dance moves getting the audience up and dancing along. Mark Shields played the part of Teen Angel, and this gentleman did an excellent job of capturing the character's flamboyance and larger-than-life personality. His performance of "Beauty School Dropout" was a showstopper, with his smooth vocals and suave dance moves wowing the audience. Miss Lynch, played by Tracy Timlin, was a delight to watch. She brought a touch of strictness to the role of the school principal but also showed a softer side in her interactions with the students. Her comedic timing was impeccable, and she had the audience in stitches with her dry wit and sarcastic one-liners. Finally, Michael Morrow played the part of Vince Fontaine. A lovely, smooth, talking, somewhat sleazy character living as a singer embodying the commercial side of the rock and roll era. Mr Morrow, in this part, was a memorable character, effectively capturing his charisma and yet oily charm. This was a class role played so very well by Mr Morrow.  The Chorus Mistress was Roisin Corr. The chorus created a lovely, bustling atmosphere of Rydell High and its surroundings. The significant musical numbers such as “Summer Nights,” “Greased Lightnin,” and “We Go Together” where their involvement helped amplify the mood and excitement. This group had lovely cohesion; they blended vocally very well, and the chorus had gorgeous, tight harmonies. There were lovely instances where the energy and the harmonies lifted off the stage, and the numbers were consistently energetic and vibrant. This theatre lent itself beautifully for your sound, your harmonies, and, of course, the Sound team themselves; however, it was apparent that lots of time, went into the Chorus, which paid off. Well done  I had a fantastic time watching this production, It was just an all-around great time! Fantastic choice of show for you as a group. I love the sense of community in this town, especially in this Theatre. I had an enchanting evening with you all, and as I had travelled from Cork and was at the show alone, I haven’t talked as much in a long time; such was your welcome. So thank you. It was simply a pleasure to be your Adjudicator. Caroline Daly Jones Sullivan Adjudicator 2023 / 2024

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